Parody of Giacchiono's Star Trek theme music.

I found the score underwhelming, with only one major theme which was itself a poor mirror of Horner's score.
No other motifs stuck out. It felt very LOST at times, when the sound effects would zone out and the music would stay.

Still, Giaccino's was better than that ^^^. That sounds like a really poor Lois and Clarke, very 90's version. Would have been awful.

I would have liked more fanfare too, specially when we saw th'Enterprise the first time.

 

I thought the music was kind of all over the place and confusing the first time I saw the movie; by the second time, it was firming up in my mind. After I bought the CD and listened a few times, the themes were becoming clear. When we go to see the movie again, I think I will appreciate the music more.

Edit: ok, I just listened to the topic clip, and I want to point out that it worked for "Bolero."

Seriously, the themes often remind me of themes from Search for Spock.

 

When I listened to the soundtrack, I found that it was kinda weird and repetitive, but after seeing the movie, it really seemed to fit. It definitely isn't great, let alone amazing, but I would say that it is good. Other than the end credits, I particularly like "Labor of Love," "Enterprising Young Men," and "Nero Death Experience."

I like how they didn't copy the original, like some reboot do, but he still hid parts of the theme into some of the pieces.

As for there only being one theme, I must disagree. There were probably 3 that I could find: the main theme ("Star Trek," "Hella Bar Fight," etc), the Vulcan theme ("New Car Smell" and a few others) and the fight theme ("Nero Death Experience" and "Nero Fiddles, Narada Burns")

 

Hmm; I have to say, I loved the score. Even more so after having seen the movie and knowing the context of most of the pieces. In fact, I wish the soundtrack was longer.

 

C'mon, there is alot more to it than just those 4 bars!

 

i really liked the music and am going to get the dvd most likely. I'm surprised to be in the minority; but it was great to get a new theme and it was enchanting.

 

It sounds nice... and it's loud.
But honestly this is nothing more than musical kit-bashing.
I prefer the new theme over this.

 

This is just childish and unprofessional.
What he did here, he could have done with with virtually every piece of music.

 

Jerry - have you ever played Bolero? It's so much more than a repeated phrase constantly growing louder.

As a musician, I found this score to be very worthy - of a video game.

 

There are some places where this score really works with the movie.

When Kirk says to Spock "that's cheating" on Delta Vega and Spock says "live long and prosper" before activating the transporter.

The leadup to the Enterprise reveal in space.

The entire end sequence on the bridge.

The buildup to Kirk and Spock finding the Jellyfish and flying it out of the Narada.

Overall, though, I think it could have used a bit more thematic development and variation.

 

I think the new theme's great. The score is far superior to the Star Wars Prequel ones (I have the one for TPM and RotS), solid and catchy. It fits well into the film. I'm happy with it.

 

I personally thought AoTC was the best SW prequel OST.

I don't think this score is quite as good as that one.

 

And there is some fantastic music written for video games out there (ever heard of 'One-Winged Angel'?) - so, your point is?

 

I agree with everything but your last point. I think Giacchino is masterful, but his main theme for this film really left me thinking it wasn't a good match. I believe he was enthused - he certainly seems to have gotten into the spirit in the recording sessions etc but the main theme seems rather generic and does get boring fairly quickly.

I had only a handful of things I wasn't super keen on in the film, and this was one of them. Giacchino often creates such a great atmosphere when he uses a minimalistic approach, but it seems like in this case he's tried to combine that approach with something bombastic and ended with a product that doesn't quite succeed at either. Like the engineering set, in my opinion this is something I think could be improved upon.

Being a musician and having drawn my fair share of not only criticism but put downs from all sorts, I'm not so sure that it's good sport for a professional musician to rip on another. Saying you don't like it and critiquing it is one thing, but openly attacking someone when your own work may not exactly be the strongest is not smart.

 

That's the one I don't own. I do like the main theme though, better than the love story in any case.

 

There is sort of an unwritten rule about never saying anything critical of anyone, ever, professionally. The idea is that it comes back to haunt you. Then there is the time Pat Metheny had just about had it with Kenny G's crappy sax music and tore him a new ass in a blog. It doesn't matter if you don't know who those people are; suffice it to say sometimes you gotta call the Emperor out for strolling around naked.

The bottom line is, if you're in competition with someone (am I? Suppose so...), and you're going to criticize them, you'd better deliver if asked to do better. Point at the bleachers if you want; float like a butterfly/sting like a bee all day; the only way to get away with that sort of "bravado," is to be better, and willing to prove it.

Anytime, JJ.



But let's not take the whole thing too seriously; an earlier poster is right you could do the same thing to just about any major composer's music, Williams, Goldsmith, mine, anyone's. And at the heart of it, I know how brutal film production is; I can think of a million reasons why Giacchino (who is truly better than this ass score he's responsible for) might've had his best efforts stymied. But, that's one of the liabilities you face for having your name 12-feet across on a single card: you're going to be held liable for whatever ends up on screen, whether it's because of bad calls by a director, or a poor mix, or having 3 days to do the whole thing, etc. And in any case, Giacchino's got a career I would kill for; I doubt very much he gives a crap. Or should, really. In the end, if I'm all that, I'm sure there'll be plenty of chances to prove it.

_Mike

 

Agreed. Not only is it entirely derivative, it is overdone, like singers who add runs to every bar of national anthem just to show off their voice, not add anything to the song.

 

... it's not only entirely derivative, it's intentionally derivative! Oh, and John Williams called, he wants his woodwind runs back. What a hack.


_Mike

 

I for one loved the score to the new film. It was fun to listen to, and it was genuinely emotional. And it was something different than the droning scores produced under Rick Berman. I love Jerry Goldsmith as much as the next guy, but let's face it, his scores for INS and NEM were nothing to write home about; his score for FC was good, but not the equal to his score for TMP, and the next two were just boring.

In fact, other than FC, Trek really hadn't had a truly good or memorable score on TV or in film since Star Trek VI in 1991. Giacchiono's score added a level of emotion and depth -- yes, I said it -- and fun to the film that was perfect for every scene. And he did so without being derivative of the TMP score again and without sounding anything like the other major Trek composers (no, I don't think he sounded like Horner in Star Trek II).

I loved it and plan on buying the new soundtrack.

 

YES! That's exactly what I thought of - the first 6-7 notes of Horner's fanfare.

It's like how 'Secret Agent Man' is related to the James Bond theme.

Odd how Giacchiono ends the little fanfare of notes on a weak minor key - it doesn't lend itself to a heroic feel and sounds more like a Batman score.

I always thought the Total Annihilation (video game) soundtrack by Jeremy Soule is perfect for rousing space action: http://www.youtube.com/watch?v=9gajD7rrp3s&feature=related